I International Journal of Applied Linguistics & English Literature ISSN 2200-3592 (Print), ISSN 2200-3452 (Online) Vol. 6 No. 6; November 2017 Flourishing Creativity & Literacy Australian International Academic Centre, Australia Dylan Thomas’s “Fern Hill”: The Poets’s Passion for Auden’s Greatness S.Bharadwaj Annamalai University, India E-mail: [email protected] Received: 14-04-2017 Accepted: 09-06-2017 Advance Access Published: September 2017 Published: 01-11-2017 doi:10.7575/aiac.ijalel.v.6n.6p.174 URL: http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.174 Abstract The poem “Fern Hill” is interpreted as autobiographical and reminiscent of Dylan Thomas’s boyhood holidays. A reading of the figurative language of the poem, the process of playing with its tropes can be the basis of right interpretation independent of the poet’s life or an historical context. As the poem seeks to be persuasive and objective, it relies more on rhetorics suggesting the sufferings of the fallen poets of the thirties and the war poet of the forties owing to their wild love of the transcendental art of W.H.Auden’s Poems (1930) considered as touchstone of great poetry and a hope for self-advancement in life. However, it is the paradoxical poems of Thomas and his vicarious poetical character that have rehabilitated and revamped the depressed poets. “Fern Hill” reaffirms and reassures the continuation of the same sceptic poetic tradition and culture which Thomas has cherished in all the preceeding and the succeeding poems. What this paper, keeping the contemporary poets’s passion for Auden’s greatness and glory, their dreams and destinations as focal point, strives to convey is the liberating power of Thomas’s moral disinterestedness, his vicarious comic vision and his poetic process of life-in-death contrasted with the amoral aesthetic disinterestedness of Auden, his historic tradition and his poetic process of death-in-life. Keywords: stylistic, nostalgic, transcendence, paradox, juvenile, mutability, and charlatanism. 1. Introduction The fact that the poem “Fern Hill” is written in an adopted style, however perfect, conditions the reader’s response; its paradoxical structure and its ambiguous language further hinder right appreciation. The experiment with the symbolic form of paradox -- and the poetry of Dylan Thomas is, indeed, in the nature of an experiment -- still continues to fascinate critics and poets. Cecil Day Lewis outlines the paradoxical structure and moral disinterestedness underlying the poem: “Into the crowd of your haunting fancies … the streams, the airs, the dews … the soldier shades and the solacing heartbeams … you melt, and fame pursues” (Collected Poems 282). He disagrees with the general sentiment and compliments Thomas on the feat of Audenesque musical structure in “Fern Hill” when he says that “the whole as gracefully formed and charactered … as a poem of your own,” “that a true poet’s age is truthfully reckoned … not in years but in song,” “here is a loving-cup made from verse … for verse is your favourite of metals…” (DCP). What strikes the reader most is the stylistic advance achieved in a remarkably short period, the technical excellence, the magnificent rhetorical diction and versification that is evident in the poem. Throughout his poetic career Thomas continues his search for the proper vehicle, and in the later poem Deaths and Entrances this search is intimately connected with his appraisal of the poetry of the past. His most favourite poem, A.E. Houseman’s Last Poems, seems to achieve the necessary fusion of largeness and depth, but Thomas still feels an inward compulsion to attempt the Audenesque manner although his 18 Poems is an indirect repudiation of W.H.Auden’s elegant art. His renewed study of Auden’s Poems (1930), while conceiving the later poem Deaths and Entrances, the grandeur “of a hawk’s vertical stooping from the sky” ( Auden, Poems 70 ) to which he responds with gusto, helps to revive the urge. His speculations on co-existence and fellow-feelings may have re-orientated his ideal poetic character, but his experiences during the war and the need to extricate himself from the deepening shadows of depression prompt a return to Auden. Again, as Thomas suggests, he wants at least to try to attain the artistic stature of Auden even if his poetry is to follow a different direction: On almost the incendiary eve Of several near deaths, When one at the great least of your best loved And always must leave Lions and fires of his flying breath…. (Poems 47) The question that inevitably arises is whether and how far the germinating conception is modified and alters as a result of his inward cogitations about his own poetic destiny and by the pressure of events in the intervening months. IJALEL 6(6):174-194, 2017 175 Thomas’s imitations of the grave unhurried rhythm, the deep, grand organ tone and the religious tenor are sustained especially in the first five stanzas of “Fern Hill” “to hold and interpret … rightly” the sound and meaning of Auden’s musical structure of the early poems, “the ringing pole of summer days” (DCP 216), “a secret look in a landscape’s eye” (294). Day Lewis comments on the greatness of syntactic structure of “Fern Hill”: “The whole stood up … antique and clear … as a cameo, from the vale. I swear … it was not a dream” (DCP). The adaptation is brilliant, and a student of rhetoric and versification would find it a worthwhile exercise to watch the process closely and note where and how two styles, two contrary minds coalesce. The reader would realize also the force of the struggle through which the severe magnificence is maintained. The pattern, however, soon breaks and it is finally abandoned. The voice in the sixth stanza is very much unlike Auden’s. In “Fern Hill,” Thomas is not speaking with his own voice in the first five stanzas; his own voice may be heard in the isolated last stanza. But does Thomas leave the song structure of Auden unfinished like the poets of the thirties because of sheer exhaustion, or because the elegant manner of Auden and his metaphysical framework prove inadequate to his purpose? MacNeice, identifying Thomas with the comic character Autolycus in The Winter’s Tale, establishes Thomas’s greatness as a poet of paradoxical structure: O master pedlar with your confidence tricks, Brooches, pomanders, broadsheets and what-have you, Who hawk such entertainment but rook your client And leave him brooding, why should we forgive you Did we not know that, though more self-reliant Than we, you too were born and grew up in a fix? (Collected Poems 256) This takes the readers to the perplexing problem of “Fern Hill”: the fellow-poets’s dreaming about Auden’s aestheticism and their hope for lasting song. Thomas himself answers that his dramatic narrative of a strange monologue, the Bildungsroman of his desolate contemporaries concludes with the fifth stanza of “Fern Hill”: And the bird descended. On a bread white hill over the cupped farm And the lakes and floating fields and the river wended Vales where he prayed to come to the last harm And the home of prayers and fires, the tale ended. (Poems 23) The fellow-poets’s quest for impersonal art and timeless existence reminds the readers of the lines from Houseman’s Last Poems that has sustained Thomas in moments of distress: “What are those blue remembered hills, / What spires, what farms are those?” (Houseman 31). Moreover, the very theme underlying the poem “Fern Hill” is identical to that of Yeats’s lines: Come, heart, where hill is heaped upon hill: For there the mystical brotherhood Of sun and moon and hollow and wood And river and stream work out their will; And God stands winding His lonely horn, And time and the world are ever in flight; And love is less kind than the grey twilight, And hope is less dear than the dew of the morn. (Collected Poems 46) The central focus in Thomas’s “Fern Hill” is the poets’s wild love of the transcendental significance, the song pattern of Auden “who climbs to his dying love in her high room” (Poems). What Auden concentrates in Poems (1930), “prolonged drowning shall develop gills” (12), “steps forward, greets, repeats what he has heard … and seen, feature for feature, word for word” (English Auden 14) and “to destroy the efflorescence of the flesh” is “to intricate play of the mind, to enforce … conformity with the orthodox bone … with organized fear, the articulate skeleton” (Auden, Poems 66), is the very emphasis that T.S. Eliot has underscored in his early poems and his critical essay: “thoughts of a dry brain in a dry season” (Waste Land 21), “a continual surrendering before the invaluable,” “a continual self-sacrifice” (“Tradition” 171) and “the significant emotion” (176). Day Lewis explains Auden’s elegant art of death-in-life, “that is the land of lost content … shining plain” (AEH ), his art of self-annihilation ascending the heights of aesthetic distance: : A world seems to end at the top of this hill. Across it, clouds and thistle-clocks fly, And ragged hedges are running down from the sky, As though the wild had begun to spill Over a rampart soon to be drowned With all it guards of domesticated ground. (DCP 283) In “Fern Hill,” Thomas has defamiliarized the descriptive language by transfiguring the ordinary hill-climbing into a symbolic pilgrimage of pain leading to salvation and permanence. The figurative title suggests that the impact of the poem can be attributed to the effective permutation and combination of various dramatic elements into poetic unity, IJALEL 6(6):174-194, 2017 176 “farm house in a fold … of fields” (Poems 21).